Vertical
9:16Full-screen vertical feeds, where the picture fills the screen and nothing else is on it.
The frame is recomposed around whoever is speaking, and the caption block sits above the bar the platform draws along the bottom.
Source recording, as you send it
Three stretches chosen
Long recording in, short clips out
Send a webinar, an interview or a product walkthrough you have already recorded. We cut out the stretches worth watching on their own, reframe them for the shapes you publish in, add captions and on-screen wording, and hand back finished video files.
How it works
One recording in, separate clips out
The order of work is the same whichever route you take. The one decision that changes it is whether the stretches are yours or ours to propose.
You send timecodes
You already know which parts are worth publishing. Send the in and out points and we cut to them. Where a mark runs across the middle of a thought, we say so and suggest where it could move to, and you decide.
Nothing is chosen by us.
We propose the stretches
You tell us what the clips are for and we watch the recording through. Back comes a written list of stretches with the reason each one stands up on its own. You approve it, change it, or cross parts of it out.
Nothing is cut until the list is agreed.
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Step 01
You describe the recording
How long it runs, what it is, where the clips are going, and whether you are sending timecodes or asking us to propose them.
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Step 02
A written quotation comes back
The scope, the price in pounds sterling with any tax already inside it, the date of handover, and how many rounds of changes the figure covers. Nothing is added to that figure afterwards.
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Step 03
You confirm, and send the material
The order exists once we have sent an order confirmation and you have it in front of you. Then the source file, the brand materials and the timecodes or the brief come over.
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Step 04
The stretches are settled
Either we cut to your marks, or the proposed list goes to you and waits for your approval. Editing starts from an agreed list either way.
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Step 05
The clips are cut, captioned and exported
Each clip trimmed at both ends, levelled, graded to match its neighbours, reframed for each shape, captioned and checked against the list.
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Step 06
Handover, then changes
Files by email or on a download link. You review them and send changes in one go; the rounds the quotation covers are used on what you have actually seen.
Shapes
Cut once, framed three ways
A clip is exported separately for each shape you publish in. The picture is recomposed for the new frame rather than squashed into it, and the captions move with it.
Square
1:1Feeds that show a square picture with your own wording underneath it.
A tighter crop than the source, kept level with the eyeline, with the corners left clear of anything that has to be read.
Landscape
16:9Wide players, your own pages, and anywhere the clip sits inside a page rather than filling a screen.
The source framing is kept and the clip is topped and tailed only, so a landscape export stays closest to the recording as you shot it.
Which shapes an order covers is written into the quotation, because each one is a separate export with its own framing and its own caption placement. Adding a shape after handover is further work rather than another copy of the same file.
Captions
Read with the sound off
A feed that starts muted asks a clip to make sense before anyone reaches for the sound. Captions are part of the edit here rather than an extra applied at the end.
Caption block, as it sits in the frame
The grey bar is the platform's own furniture. Captions are placed above it, so nothing you are meant to read sits underneath a progress bar or the platform's own wording.
- Machine first, person second
- A machine transcript is quick and wrong in predictable places: names, jargon, figures and anything said over a laugh. Every line is read against the audio and corrected before it goes near a clip.
- Timed to the speech
- A line changes on the beat of the word, not a moment behind it. Captions that lag are the difference between reading a clip with the sound off and giving up on it.
- Set in your own type
- Your typeface and your colours where you have them, plain type that stays out of the way where you do not. Nothing is invented to look like a brand you have not given us.
- Burnt in, or a separate file
- Burnt into the picture so the words survive being re-uploaded, or supplied as a subtitle file that can be switched off, or both. The order says which.
Packages
Three shapes of work
Which package an order sits in follows from how the recordings arrive: one of them, a run of them, or a stream of them. What each one costs is settled in writing, from the length of the source and the number of clips wanted out of it.
One recording
A single webinar, interview, panel or walkthrough that you want cut down into clips.
What it covers
- One source recording, cut into the clips agreed in the quotation.
- Each clip in the shapes named in the order.
- Captions on every clip, corrected by a person.
- Titles and end cards from wording and artwork you supply.
- Rounds of changes as set out in the quotation.
What sets the figure
- How long the source recording runs.
- How many finished clips you want out of it.
- How many shapes each clip is delivered in.
- Whether you send timecodes or ask us to choose the stretches.
A run of recordings
Several recordings from one series, one event or one week of filming, treated as a single body of work.
What it covers
- Every recording in the run, cut to one agreed treatment.
- One set of titles, captions and end cards used across all of them, so the clips read as a series.
- A naming scheme for the files agreed before the first handover.
- Handover in batches as each recording is finished, rather than everything at the end.
- Rounds of changes as set out in the quotation.
What sets the figure
- The combined length of the recordings in the run.
- How many finished clips are wanted from each of them.
- How many shapes each clip is delivered in.
- Whether the treatment is settled once for the run or revisited per recording.
A standing arrangement
Recordings that keep arriving - a weekly show, a monthly webinar, a podcast with a camera on it.
What it covers
- A place in the schedule kept for recordings that arrive on an agreed rhythm.
- A treatment settled once and applied to everything that arrives afterwards.
- A shared folder arrangement agreed with you, so nothing waits on an email.
- A written review of the arrangement at the interval named in the quotation.
- Rounds of changes as set out in the quotation.
What sets the figure
- How often recordings arrive and how long each one runs.
- How many finished clips are wanted from each arrival.
- How many shapes each clip is delivered in.
- How long the arrangement is to run before it is reviewed.
How a figure is arrived at
You describe the recording and what you want from it; a written quotation comes back with one total figure in pounds sterling (GBP), any tax already inside it, the date of handover and the number of rounds of changes it covers. Nothing is added to that figure afterwards.
How it is paid for
Against the confirmed order, by bank transfer on an invoice, by card, or through PayPal, on the secure payment link in the email. This website has no basket and takes no payments; card details are entered on the payment provider's own page and never reach us.
What we need
Four things, and the work can start
None of them is difficult to put together, and settling all four before the first cut saves the round of changes that a missing one always causes.
Item 01
The recording itself
The highest quality file you have, not a copy re-uploaded from a platform. A link to your own storage is fine; we do not need the camera originals unless you want the clips graded from them.
Item 02
Where the clips are going
Which platforms and which shapes. It changes the crop, where the captions sit and how each file is exported, so it is worth settling before anything is cut.
Item 03
Your brand materials
Logo files, type, colours, and any brand guidance you follow. Where you have none, we use plain type that stays out of the way rather than inventing a look for you.
Item 04
Timecodes, or a brief for choosing them
Either the stretches you already know you want, or a sentence or two on what the clips are for, so the list we propose is aimed at something.
Plainly
What is sold here, and what is not
ClipMotion sells editing work and the files it produces. It does not sell an audience, and it will not pretend to be able to.
What you are buying
- The clips described in the order, in the shapes the order names, as files you can publish.
- Cuts that stand on their own: topped and tailed so a clip makes sense with nothing around it.
- Captions read against the audio and corrected by a person, not left as a machine transcript.
- Your own type, colours and artwork used as supplied, with nothing invented to fill a gap.
- Work carried out with reasonable care and skill, as section 49 of the Consumer Rights Act 2015 requires.
What is never promised
- Views, plays or watch time on anything we edit.
- Reach, impressions, followers or subscribers.
- Placement by any platform, or any behaviour from its recommendation system.
- Sales, enquiries or revenue that follow a clip being published.
- That a clip will perform as well as, or better than, anything else you have published.
No figure of that kind appears anywhere on this site, and none will be quoted in writing either. If you are being offered one elsewhere, ask what it is based on.
Questions
Asked before an order, answered here
Do you need the camera originals?
No. The best single file you already have is enough, as long as it is the original export rather than something downloaded back off a platform. Send the camera originals only if you want the clips graded from them; it is more to upload and it is worth agreeing first.
Can we send a link instead of a file?
Yes. A link to your own storage is the simplest way to move a long recording, and it means you keep control of the file. Whatever we are given is downloaded once and worked on from a copy.
Who owns the finished clips?
You do. The recording is yours before it reaches us and stays yours, and the rights in the edited clips pass to you once the order is paid for in full. The terms of service set this out in the frame on rights.
Do you publish the clips for us?
No. We hand over files. Scheduling, uploading, writing the wording that sits around a clip and answering what comes back are yours, and no part of this service touches your accounts.
What happens if a timecode cuts across a thought?
We say so before cutting, and suggest where the mark could move to. The decision stays yours: if you want the cut exactly where you put it, that is where it goes.
Can captions be in another language?
Captions are produced in the language spoken in the recording. Subtitles in another language are translation work rather than transcription, so they are agreed separately and written into the quotation if you want them.
How long do you keep our recording?
Working copies are kept for the period named in the privacy policy and then deleted, unless you ask in writing for them to be held longer or removed sooner. The policy names the period rather than leaving it to be guessed at.
Is there a basket on this site?
No. Nothing is bought here. An enquiry goes back and forth by email, a written quotation settles the scope and the figure, and payment is arranged against the order confirmation.
Start here
Turn your video into clips
Tell us what the recording is, roughly how long it runs and where the clips are going. A written quotation comes back with the scope, one total figure in pounds sterling, the date of handover and the rounds of changes it covers.
Your recording
Where the clips come from
Nothing is committed by asking. An order exists only once a written confirmation has gone out and you have it in front of you.